Warburg and the Emotive Formulas: Between Pablo Picasso's Modern Nymph and Pina Bausch's Post-Modern Nymph

The image of the nymph studied by Aby Warburg, bearer of survivals and support of emotional energy, allows establishing new repertoires and possible concomitances between Pablo Picasso's representations of women and female characterizations in Pina Bausch's dance-theater. The&...

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Autor principal: Antacli, Paulina Liliana
Formato: Online
Idioma:spa
Publicado em: ABRACE / ANDA / ANPAP / ANPPOM
Endereço do item:https://periodicos.ufrn.br/artresearchjournal/article/view/29666
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spelling oai:periodicos.ufrn.br:article-296662022-11-28T03:56:26Z Warburg and the Emotive Formulas: Between Pablo Picasso's Modern Nymph and Pina Bausch's Post-Modern Nymph Warburg y las fórmulas emotivas: entre la ninfa moderna de Pablo Picasso y la ninfa posmoderna de Pina Bausch Antacli, Paulina Liliana Pathosformel Nymph Pablo Picasso Dance-theater Pina Bausch Pathosformel Ninfa Pablo Picasso Danza-teatro Pina Bausch The image of the nymph studied by Aby Warburg, bearer of survivals and support of emotional energy, allows establishing new repertoires and possible concomitances between Pablo Picasso's representations of women and female characterizations in Pina Bausch's dance-theater. The nymph’s Pathosformel is identified in paintings and graphic works by Picasso, as well as in photographic records of Bausch's dancers, whose bodies –sometimes dressed alla ninfale– constitute emotional vectors. In the present paper, the polarities, slips, fragmentations and return to life of the formulae of the past are updated in two new paradigms: the modern Picassian nymph (result of the plastic experimentation akin to the avant-garde and iconographic types extracted from the superlatives of the gesture), and the Bauschian nymph, that alerts the ironic eye of postmodernity and projects its steps towards a nostalgic search for Antiquity. La imagen de la ninfa estudiada por Aby Warburg, portadora de supervivencias y cargas emotivas, permite establecer nuevos repertorios y posibles concomitancias entre las representaciones que Pablo Picasso hace de la mujer y las caracterizaciones de la misma en la danza-teatro de Pina Bausch. La Pathosformel de la ninfa es identificada en pinturas y obras gráficas de Picasso, así como en registros fotográficos de las bailarinas de Bausch, cuyos cuerpos –en ocasiones ataviados alla ninfale– se constituyen en vectores emocionales. En la presente investigación las polaridades, deslizamientos, fragmentaciones y vuelta a la vida de las fórmulas del pasado se actualizan en dos nuevos paradigmas: la ninfa moderna picassiana, fruto de experimentaciones plásticas afines a las vanguardias y tipos iconográficos extraídos de los superlativos del gesto, y la ninfa bauschiana que alerta al ojo irónico de la posmodernidad y proyecta sus pasos hacia una nostálgica búsqueda de la antigüedad. ABRACE / ANDA / ANPAP / ANPPOM 2022-07-28 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://periodicos.ufrn.br/artresearchjournal/article/view/29666 Art Research Journal: Revista de Pesquisa em Artes; Vol. 9 No. 1 (2022): Dossier Warburg: Contributions to The Warburg 2019 International Symposium, Buenos Aires ARJ – Art Research Journal: Revista de Pesquisa em Artes; v. 9 n. 1 (2022): Dossiê Warburg: contribuições ao Simpósio Internacional Warburg 2019, Buenos Aires 2357-9978 10.36025/arj.v9i1 spa https://periodicos.ufrn.br/artresearchjournal/article/view/29666/15938 Copyright (c) 2022 Paulina Liliana Antacli (Autor) http://creativecommons.org/licenses/by-nc-sa/4.0
institution Periódicos UFRN
collection Portal de Pediódicos Eletrônicos da UFRN
language spa
format Online
author Antacli, Paulina Liliana
spellingShingle Antacli, Paulina Liliana
Warburg and the Emotive Formulas: Between Pablo Picasso's Modern Nymph and Pina Bausch's Post-Modern Nymph
author_facet Antacli, Paulina Liliana
author_sort Antacli, Paulina Liliana
title Warburg and the Emotive Formulas: Between Pablo Picasso's Modern Nymph and Pina Bausch's Post-Modern Nymph
title_short Warburg and the Emotive Formulas: Between Pablo Picasso's Modern Nymph and Pina Bausch's Post-Modern Nymph
title_full Warburg and the Emotive Formulas: Between Pablo Picasso's Modern Nymph and Pina Bausch's Post-Modern Nymph
title_fullStr Warburg and the Emotive Formulas: Between Pablo Picasso's Modern Nymph and Pina Bausch's Post-Modern Nymph
title_full_unstemmed Warburg and the Emotive Formulas: Between Pablo Picasso's Modern Nymph and Pina Bausch's Post-Modern Nymph
title_sort warburg and the emotive formulas: between pablo picasso's modern nymph and pina bausch's post-modern nymph
description The image of the nymph studied by Aby Warburg, bearer of survivals and support of emotional energy, allows establishing new repertoires and possible concomitances between Pablo Picasso's representations of women and female characterizations in Pina Bausch's dance-theater. The nymph’s Pathosformel is identified in paintings and graphic works by Picasso, as well as in photographic records of Bausch's dancers, whose bodies –sometimes dressed alla ninfale– constitute emotional vectors. In the present paper, the polarities, slips, fragmentations and return to life of the formulae of the past are updated in two new paradigms: the modern Picassian nymph (result of the plastic experimentation akin to the avant-garde and iconographic types extracted from the superlatives of the gesture), and the Bauschian nymph, that alerts the ironic eye of postmodernity and projects its steps towards a nostalgic search for Antiquity.
publisher ABRACE / ANDA / ANPAP / ANPPOM
publishDate 2022
url https://periodicos.ufrn.br/artresearchjournal/article/view/29666
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